Geometric characteristics of conics in Bézier form

Synthetic derivation of closed formulae of the geometric characteristic of a conic given in Bézier form in terms of its control polygon, (P; Q; R) and weights, (1; w; 1g)

Geometric diagnostics of complex patterns: Spiral defect chaos

Motivated by the observation of spiral patterns in a wide range of physical, chemical, and biological systems, we present an automated approach that aims at characterizing quantitatively spiral-like elements in complex stripelike patterns. The approach provides the location of the spiral tip and the size of the spiral arms in terms of their arc length and their winding number. In addition, it yields the number of pattern components (Betti number of order 1), as well as their size and certain aspects of their shape. We apply the method to spiral defect chaos in thermally driven Rayleigh- Bénard convection and find that the arc length of spirals decreases monotonically with decreasing Prandtl number of the fluid and increasing heating. By contrast, the winding number of the spirals is nonmonotonic in the heating. The distribution function for the number of spirals is significantly narrower than a Poisson distribution. The distribution function for the winding number shows approximately an exponential decay. It depends only weakly on the heating, but strongly on the Prandtl number. Large spirals arise only for larger Prandtl numbers. In this regime the joint distribution for the spiral length and the winding number exhibits a three-peak structure, indicating the dominance of Archimedean spirals of opposite sign and relatively straight sections. For small Prandtl numbers the distribution function reveals a large number of small compact pattern components.

Transformation�based implementation and optimization of programs exploiting the basic Andorra model.

The characteristics of CC and CLP systems are in principle very dierent However a recent trend towards convergence in the implementation techniques for these systems can be observed While CLP and Prolog systems have been incorporating capabilities to deal with userdened suspension and coroutining CC compilers have been trying to coalesce negrained tasks into coarsergrained sequential threads This convergence of techniques opens up the possibility of having a general purpose kernel language and abstract machine to serve as a compilation target for a variety of userlevel languages We propose a transformation technique directed towards such an objective In particular we report on techniques to support the Andorra computational model essentially emulating the AndorraI system via program transformation into a sequential language with delay primitives The system is automatic comprising an optional program analyzer and a basic transformer to the kernel language It turns out that a simple parallel CLP or Prolog system with dynamic scheduling is sucient as a kernel language for this purpose The preliminary results are quite encouraging performance of the resulting system is comparable to the current AndorraI implementation.

Optimización de la Exactitud Geométrica al Integrar Diversas Fuentes de Datos en Proyectos de Inventario Forestal Basados en Escaneo Laser Aerotransportado=Optimizing Geometric Accuracy in Data Source Integration for Airborne Laser Scanning-based Forest Inventory Projects

La mayoría de las aplicaciones forestales del escaneo laser aerotransportado (ALS, del inglés airborne laser scanning) requieren la integración y uso simultaneo de diversas fuentes de datos, con el propósito de conseguir diversos objetivos. Los proyectos basados en sensores remotos normalmente consisten en aumentar la escala de estudio progresivamente a lo largo de varias fases de fusión de datos: desde la información más detallada obtenida sobre un área limitada (la parcela de campo), hasta una respuesta general de la cubierta forestal detectada a distancia de forma más incierta pero cubriendo un área mucho más amplia (la extensión cubierta por el vuelo o el satélite). Todas las fuentes de datos necesitan en ultimo termino basarse en las tecnologías de sistemas de navegación global por satélite (GNSS, del inglés global navigation satellite systems), las cuales son especialmente erróneas al operar por debajo del dosel forestal. Otras etapas adicionales de procesamiento, como la ortorectificación, también pueden verse afectadas por la presencia de vegetación, deteriorando la exactitud de las coordenadas de referencia de las imágenes ópticas. Todos estos errores introducen ruido en los modelos, ya que los predictores se desplazan de la posición real donde se sitúa su variable respuesta. El grado por el que las estimaciones forestales se ven afectadas depende de la dispersión espacial de las variables involucradas, y también de la escala utilizada en cada caso. Esta tesis revisa las fuentes de error posicional que pueden afectar a los diversos datos de entrada involucrados en un proyecto de inventario forestal basado en teledetección ALS, y como las propiedades del dosel forestal en sí afecta a su magnitud, aconsejando en consecuencia métodos para su reducción. También se incluye una discusión sobre las formas más apropiadas de medir exactitud y precisión en cada caso, y como los errores de posicionamiento de hecho afectan a la calidad de las estimaciones, con vistas a una planificación eficiente de la adquisición de los datos. La optimización final en el posicionamiento GNSS y de la radiometría del sensor óptico permitió detectar la importancia de este ultimo en la predicción de la desidad relativa de un bosque monoespecífico de Pinus sylvestris L. ABSTRACT Most forestry applications of airborne laser scanning (ALS) require the integration and simultaneous use of various data sources, pursuing a variety of different objectives. Projects based on remotely-sensed data generally consist in upscaling data fusion stages: from the most detailed information obtained for a limited area (field plot) to a more uncertain forest response sensed over a larger extent (airborne and satellite swath). All data sources ultimately rely on global navigation satellite systems (GNSS), which are especially error-prone when operating under forest canopies. Other additional processing stages, such as orthorectification, may as well be affected by vegetation, hence deteriorating the accuracy of optical imagery’s reference coordinates. These errors introduce noise to the models, as predictors displace from their corresponding response. The degree to which forest estimations are affected depends on the spatial dispersion of the variables involved and the scale used. This thesis reviews the sources of positioning errors which may affect the different inputs involved in an ALS-assisted forest inventory project, and how the properties of the forest canopy itself affects their magnitude, advising on methods for diminishing them. It is also discussed how accuracy should be assessed, and how positioning errors actually affect forest estimation, toward a cost-efficient planning for data acquisition. The final optimization in positioning the GNSS and optical image allowed to detect the importance of the latter in predicting relative density in a monospecific Pinus sylvestris L. forest.

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.

Efficient sampling from truncated bivariate Gaussians via Box-Muller transformation

Many practical simulation tasks demand procedures to draw samples efficiently from multivariate truncated Gaussian distributions. In this work, we introduce a novel rejection approach, based on the Box-Muller transformation, to generate samples from a truncated bivariate Gaussian density with an arbitrary support. Furthermore, for an important class of support regions the new method allows us to achieve exact sampling, thus becoming the most efficient approach possible. RESUMEN. Método específico para generar muestras de manera eficiente de Gaussianas bidimensionales truncadas con cualquier zona de truncamiento basado en la transformación de Box-Muller.

Gear dynamics monitoring using discrete wavelet transformation and multi-layer perceptron neural networks

This paper presents a multi-stage algorithm for the dynamic condition monitoring of a gear. The algorithm provides information referred to the gear status (fault or normal condition) and estimates the mesh stiffness per shaft revolution in case that any abnormality is detected. In the first stage, the analysis of coefficients generated through discrete wavelet transformation (DWT) is proposed as a fault detection and localization tool. The second stage consists in establishing the mesh stiffness reduction associated with local failures by applying a supervised learning mode and coupled with analytical models. To do this, a multi-layer perceptron neural network has been configured using as input features statistical parameters sensitive to torsional stiffness decrease and derived from wavelet transforms of the response signal. The proposed method is applied to the gear condition monitoring and results show that it can update the mesh dynamic properties of the gear on line.

Model-to-Code transformation from product-line architecture models to aspectJ

Software Product Line Engineering has significant advantages in family-based software development. The common and variable structure for all products of a family is defined through a Product-Line Architecture (PLA) that consists of a common set of reusable components and connectors which can be configured to build the different products. The design of PLA requires solutions for capturing such configuration (variability). The Flexible-PLA Model is a solution that supports the specification of external variability of the PLA configuration, as well as internal variability of components. However, a complete support for product-line development requires translating architecture specifications into code. This complex task needs automation to avoid human error. Since Model-Driven Development allows automatic code generation from models, this paper presents a solution to automatically generate AspectJ code from Flexible-PLA models previously configured to derive specific products. This solution is supported by a modeling framework and validated in a software factory.

Geometric documentation of the flour factory "El Puente Colgante" in Aranjuez (Madrid).

The goal of this communication is to offer, through computer-aided design tools, a methodology to recover and virtually reconstruct disappeared buildings of our industrial historical heritage. It will be applied to the case of the flour factory "El Puente Colgante" (The Suspended Bridge) in Aranjuez, which was demolished in 2001. The process is as follows: After a historical analysis of the evolution in time of the flour factory, a field work provides data allowing an info graphic reconstruction of the factory. Once this information has been processed, a lifting of the current state is made with AutoCAD, and a three-dimensional model is built with the Rhinoceros application. Then images of the ensemble are obtained with the applications Rhinoceros and V-Ray, ending with a postproduction with Photoshop. The proposed methodology has permitted to obtain a three-dimensional model of the flour factory ?El Puente Colgante? in Aranjuez, with an accurate virtual reconstruction of its original state prior to demolition. The procedure exposed is susceptible to be generalized for any other example of industrial architecture.

Analysis of pixel-mapping rounding on geometric distortion as a prediction for view synthesis distortion

We analyze the performance of the geometric distortion, incurred when coding depth maps in 3D Video, as an estimator of the distortion of synthesized views. Our analysis is motivated by the need of reducing the computational complexity required for the computation of synthesis distortion in 3D video encoders. We propose several geometric distortion models that capture (i) the geometric distortion caused by the depth coding error, and (ii) the pixel-mapping precision in view synthesis. Our analysis starts with the evaluation of the correlation of geometric distortion values obtained with these models and the actual distortion on synthesized views. Then, the different geometric distortion models are employed in the rate-distortion optimization cycle of depth map coding, in order to assess the results obtained by the correlation analysis. Results show that one of the geometric distortion models is performing consistently better than the other models in all tests. Therefore, it can be used as a reasonable estimator of the synthesis distortion in low complexity depth encoders.

Einstein-like geometric structures on surfaces

An AH (affine hypersurface) structure is a pair comprising a projective equivalence class of torsion-free connections and a conformal structure satisfying a compatibility condition which is automatic in two dimensions. They generalize Weyl structures, and a pair of AH structures is induced on a co-oriented non-degenerate immersed hypersurface in flat affine space. The author has defined for AH structures Einstein equations, which specialize on the one hand to the usual Einstein Weyl equations and, on the other hand, to the equations for affine hyperspheres. Here these equations are solved for Riemannian signature AH structures on compact orientable surfaces, the deformation spaces of solutions are described, and some aspects of the geometry of these structures are related. Every such structure is either Einstein Weyl (in the sense defined for surfaces by Calderbank) or is determined by a pair comprising a conformal structure and a cubic holomorphic differential, and so by a convex flat real projective structure. In the latter case it can be identified with a solution of the Abelian vortex equations on an appropriate power of the canonical bundle. On the cone over a surface of genus at least two carrying an Einstein AH structure there are Monge-Amp`ere metrics of Lorentzian and Riemannian signature and a Riemannian Einstein K"ahler affine metric. A mean curvature zero spacelike immersed Lagrangian submanifold of a para-K"ahler four-manifold with constant para-holomorphic sectional curvature inherits an Einstein AH structure, and this is used to deduce some restrictions on such immersions.

Geometric Study of the Weak Equilibrium in a Weighted Case for a Two-Dimensional Competition Game

In this work, an improvement of the results presented by [1] Abellanas et al. (Weak Equilibrium in a Spatial Model. International Journal of Game Theory, 40(3), 449-459) is discussed. Concretely, this paper investigates an abstract game of competition between two players that want to earn the maximum number of points from a finite set of points in the plane. It is assumed that the distribution of these points is not uniform, so an appropriate weight to each position is assigned. A definition of equilibrium which is weaker than the classical one is included in order to avoid the uniqueness of the equilibrium position typical of the Nash equilibrium in these kinds of games. The existence of this approximated equilibrium in the game is analyzed by means of computational geometry techniques.

Analysis of the geometric altimetry to support aircraft optimal trajectories within the future 4d trajectory management

Over the past few years, the common practice within air traffic management has been that commercial aircraft fly by following a set of predefined routes to reach their destination. Currently, aircraft operators are requesting more flexibility to fly according to their prefer- ences, in order to achieve their business objectives. Due to this reason, much research effort is being invested in developing different techniques which evaluate aircraft optimal trajectory and traffic synchronisation. Also, the inefficient use of the airspace using barometric altitude overall in the landing and takeoff phases or in Continuous Descent Approach (CDA) trajectories where currently it is necessary introduce the necessary reference setting (QNH or QFE). To solve this problem and to permit a better airspace management born the interest of this research. Where the main goals will be to evaluate the impact, weakness and strength of the use of geometrical altitude instead of the use of barometric altitude. Moreover, this dissertation propose the design a simplified trajectory simulator which is able to predict aircraft trajectories. The model is based on a three degrees of freedom aircraft point mass model that can adapt aircraft performance data from Base of Aircraft Data, and meteorological information. A feature of this trajectory simulator is to support the improvement of the strategic and pre-tactical trajectory planning in the future Air Traffic Management. To this end, the error of the tool (aircraft Trajectory Simulator) is measured by comparing its performance variables with actual flown trajectories obtained from Flight Data Recorder information. The trajectory simulator is validated by analysing the performance of different type of aircraft and considering different routes. A fuel consumption estimation error was identified and a correction is proposed for each type of aircraft model. In the future Air Traffic Management (ATM) system, the trajectory becomes the fundamental element of a new set of operating procedures collectively referred to as Trajectory-Based Operations (TBO). Thus, governmental institutions, academia, and industry have shown a renewed interest for the application of trajectory optimisation techniques in com- mercial aviation. The trajectory optimisation problem can be solved using optimal control methods. In this research we present and discuss the existing methods for solving optimal control problems focusing on direct collocation, which has received recent attention by the scientific community. In particular, two families of collocation methods are analysed, i.e., Hermite-Legendre-Gauss-Lobatto collocation and the pseudospectral collocation. They are first compared based on a benchmark case study: the minimum fuel trajectory problem with fixed arrival time. For the sake of scalability to more realistic problems, the different meth- ods are also tested based on a real Airbus 319 El Cairo-Madrid flight. Results show that pseudospectral collocation, which has shown to be numerically more accurate and computa- tionally much faster, is suitable for the type of problems arising in trajectory optimisation with application to ATM. Fast and accurate optimal trajectory can contribute properly to achieve the new challenges of the future ATM. As atmosphere uncertainties are one of the most important issues in the trajectory plan- ning, the final objective of this dissertation is to have a magnitude order of how different is the fuel consumption under different atmosphere condition. Is important to note that in the strategic phase planning the optimal trajectories are determined by meteorological predictions which differ from the moment of the flight. The optimal trajectories have shown savings of at least 500 [kg] in the majority of the atmosphere condition (different pressure, and temperature at Mean Sea Level, and different lapse rate temperature) with respect to the conventional procedure simulated at the same atmosphere condition.This results show that the implementation of optimal profiles are beneficial under the current Air traffic Management (ATM).

Spatial analysis of geometric design consistency and road sight distance

Because of the high number of crashes occurring on highways, it is necessary to intensify the search for new tools that help in understanding their causes. This research explores the use of a geographic information system (GIS) for an integrated analysis, taking into account two accident-related factors: design consistency (DC) (based on vehicle speed) and available sight distance (ASD) (based on visibility). Both factors require specific GIS software add-ins, which are explained. Digital terrain models (DTMs), vehicle paths, road centerlines, a speed prediction model, and crash data are integrated in the GIS. The usefulness of this approach has been assessed through a study of more than 500 crashes. From a regularly spaced grid, the terrain (bare ground) has been modeled through a triangulated irregular network (TIN). The length of the roads analyzed is greater than 100 km. Results have shown that DC and ASD could be related to crashes in approximately 4% of cases. In order to illustrate the potential of GIS, two crashes are fully analyzed: a car rollover after running off road on the right side and a rear-end collision of two moving vehicles. Although this procedure uses two software add-ins that are available only for ArcGIS, the study gives a practical demonstration of the suitability of GIS for conducting integrated studies of road safety.

Calibración geométrica de cámaras no métricas. Estudio de metodologías y modelos matemáticos de distorsión

La Fotogrametría, como ciencia y técnica de obtención de información tridimensional del espacio objeto a partir de imágenes bidimensionales, requiere de medidas de precisión y en ese contexto, la calibración geométrica de cámaras ocupa un lugar importante. El conocimiento de la geometría interna de la cámara es fundamental para lograr mayor precisión en las medidas realizadas. En Fotogrametría Aérea se utilizan cámaras métricas (fabricadas exclusivamente para aplicaciones cartográficas), que incluyen objetivos fotográficos con sistemas de lentes complejos y de alta calidad. Pero en Fotogrametría de Objeto Cercano se está trabajando cada vez con más asiduidad con cámaras no métricas, con ópticas de peor calidad que exigen una calibración geométrica antes o después de cada trabajo. El proceso de calibración encierra tres conceptos fundamentales: modelo de cámara, modelo de distorsión y método de calibración. El modelo de cámara es un modelo matemático que aproxima la transformación proyectiva original a la realidad física de las lentes. Ese modelo matemático incluye una serie de parámetros entre los que se encuentran los correspondientes al modelo de distorsión, que se encarga de corregir los errores sistemáticos de la imagen. Finalmente, el método de calibración propone el método de estimación de los parámetros del modelo matemático y la técnica de optimización a emplear. En esta Tesis se propone la utilización de un patrón de calibración bidimensional que se desplaza en la dirección del eje óptico de la cámara, ofreciendo así tridimensionalidad a la escena fotografiada. El patrón incluye un número elevado de marcas, lo que permite realizar ensayos con distintas configuraciones geométricas. Tomando el modelo de proyección perspectiva (o pinhole) como modelo de cámara, se realizan ensayos con tres modelos de distorsión diferentes, el clásico de distorsión radial y tangencial propuesto por D.C. Brown, una aproximación por polinomios de Legendre y una interpolación bicúbica. De la combinación de diferentes configuraciones geométricas y del modelo de distorsión más adecuado, se llega al establecimiento de una metodología de calibración óptima. Para ayudar a la elección se realiza un estudio de las precisiones obtenidas en los distintos ensayos y un control estereoscópico de un panel test construido al efecto. ABSTRACT Photogrammetry, as science and technique for obtaining three-dimensional information of the space object from two-dimensional images, requires measurements of precision and in that context, the geometric camera calibration occupies an important place. The knowledge of the internal geometry of the camera is fundamental to achieve greater precision in measurements made. Metric cameras (manufactured exclusively for cartographic applications), including photographic lenses with complex lenses and high quality systems are used in Aerial Photogrammetry. But in Close Range Photogrammetry is working increasingly more frequently with non-metric cameras, worst quality optical components which require a geometric calibration before or after each job. The calibration process contains three fundamental concepts: camera model, distortion model and method of calibration. The camera model is a mathematical model that approximates the original projective transformation to the physical reality of the lenses. The mathematical model includes a series of parameters which include the correspondents to the model of distortion, which is in charge of correcting the systematic errors of the image. Finally, the calibration method proposes the method of estimation of the parameters of the mathematical modeling and optimization technique to employ. This Thesis is proposing the use of a pattern of two dimensional calibration that moves in the direction of the optical axis of the camera, thus offering three-dimensionality to the photographed scene. The pattern includes a large number of marks, which allows testing with different geometric configurations. Taking the projection model perspective (or pinhole) as a model of camera, tests are performed with three different models of distortion, the classical of distortion radial and tangential proposed by D.C. Brown, an approximation by Legendre polynomials and bicubic interpolation. From the combination of different geometric configurations and the most suitable distortion model, brings the establishment of a methodology for optimal calibration. To help the election, a study of the information obtained in the various tests and a purpose built test panel stereoscopic control is performed.